SXSW: Reviews of Nick Cave and the Bad Seeds, Yeah Yeah Yeahs, Alt-J and more

The Yeah Yeah Yeahs debuted new songs Wednesday from its forthcoming album "Mosquito" at Stubb's in Austin, Texas, at a South by Southwest showcase. Photo by The Associated Press.

After running all about Austin, Texas, Tuesday night trying to catch as many sets as possible during the massive South by Southwest music conference, on Wednesday I restricted my hoofing to two places. Early in the day I stopped by a Warner Music Group showcase to shadow Milwaukee native and new Elektra Records president Jeff Castelaz, catching a couple performances while I was there. I also won a lotto and scored a ticket to NPR Music's showcase at Stubb's, featuring a mighty roster with Nick Cave and the Bad Seeds, the Yeah Yeah Yeahs and Alt-J.

But even though I was spared the stress of standing in lines, wondering "Will I make it in?" Wednesday still had its challenges. Have you ever tried to eat a chopped brisket sandwich doused in barbecue sauce while standing in a massive crowd with a stuffed laptop bag and camera bag saddled around your shoulders? It's tricky.

Photo by Piet Levy

BONAPARTE
The lead singer sported a bright shock of pink hair and badger-inspired eye makeup. A topless female backing dancer with black tape over her nipples sprinkled gold glitter over her body from a disco ball. And the songs, they were ridiculous, including a track called "Computer in Love" where the dancers put big boxes marked with QR codes over their heads. If there was any foolproof remedy to cure SXSW revelers of their hangovers, this early afternoon Warner Music Group showcase set at the Belmont by German punk group Bonaparte would be it. (Not that I'm speaking from personal experience; I'm a very responsible music writer.) "Too German," I overheard one observer remark. And yeah, it was, well, a bit foreign, to put it mildly. But this set would have killed with the Warped Tour crowd.

Photo by Piet Levy

FITZ AND THE TANTRUMS

As I suggested in my story on Castelaz, Fitz and the Tantrums, an act he brought over from Dangerbird, will be his first big test as president of Elektra Records. Based on performances of whistle-happy "The Watcher" and "Out of my League," new tracks from the band's Elektra debut album "More Than Just A Dream" (out May 7), the band is moving away from its retro soul sound, but it still has a way with a hook that makes you want to dance. "Moneygrabber" though remains the big showstopper, at least at this point. During the Wednesday afternoon performance at the Belmont for the Warner Music Group showcase, frontman Michael Fitzpatrick practically forced everyone to squat and then leap in the air as the climax kicked in. As this video will attest, even Castelaz was in on it.

Photo by The Associated Press

NICK CAVE AND THE BAD SEEDS

It's a good thing Nick Cave chose to be a rock musician instead of, say, a cult leader. With his incredible charisma and the dark, visually rich and frequently disturbing images in his songs (the words are more like stories than lyrics), the Other Man in Black would probably be closely, covertly observed by the FBI for the rest of his life. And the sketchy-looking Bad Seeds that back him - well, they don't look like guys you'd want to run into in an alley. But at a safe distance on the Stubb's stage for the NPR Music showcase, they were spectacular. "Jubilee Street," the enigmatic, simmering single off of the band's new album, swelled up to a thrilling crescendo. "Red Right Hand" released a nasty guitar riff fit for the bowels of hell. And for the bloody, profane "Stagger Lee," he made one guy's day (or made him really uncomfortable) when he leaned over him and began whispering lyrics in his ear. Another guy repeatedly screamed out at the top of his lungs the, um, engaged state of his genitals. Like I said, charisma.

Photo by Piet Levy

CAFE TACVBA

So how do you possibly follow Nick Cave? The only way you can: with a band that sounds nothing like it. And 24-year-old group Cafe Tacvba doesn't sound like anything else; you could classify it as Latin rock, but you'd be doing a disservice with such a base description for a sound that, on Wednesday at Stubbs, recalled everything from Mexican polka to ska to Elvis Costello to Billy Idol to Ennio Morricone to New Order to '60s pop to '70s funk to post-punk. "We'd like to have a come and hug," Albarran Ortega said during one of the rare moments he wasn't bouncing around the stage, flicking his long wavy mane or sticking out his tongue. But the moves weren't completely spontaneous - at one point four members of the group put away their instruments and performed a charming, choreographed dance routine. Now if Nick Cave had joined them, that would have really been something.

Photo by The Associated Press

YEAH YEAH YEAHS

So as crazy as the Bonaparte lead singer's get-up looked, Yeah Yeah Yeahs frontwoman Karen O looked a whole lot crazier at Stubb's Wednesday. She burst onto the stage with platinum blond hair and dramatic mascara, engulfed in a bundle of red, white and blue tinsel (USA! USA!), wearing a lone bright green glove (or, really, half a glove), and a bedazzled yellow jacket decorated with glittery sunflowers, swirls and studs. It was as if Rob Halford's Judas Priest wardrobe and a Grand Ole Opry crooner's jacket had a baby. And later in the set, she sported a head lamp like she was about to go on a mining expedition.

But it was her stage presence, and the songs, that stood out most. Kicking off with the title track from the forthcoming album "Mosquito," Karen O recalled the livewire energy from the band's formative years, complete with those signature, visceral squeals. And as if to say the old Yeah Yeah Yeahs was back, the band followed that up with the bluesy punk bruiser "Cold Light" from its signature 2003 album "Fever to Tell." The songs fit perfectly together.

There were more wild antics, including the signature sprays of spit, and at one point Karen O even clenched a microphone in her teeth, leaned back and unleashed a mighty roar. And there were more new songs too, including new single "Sacrilege," performed live for the first time. Even without an gospel choir present, Karen O's persona (and Nick Zinner's zippy guitar) sent the song to the heavens.

Photo by Piet Levy

ALT-J

Like Alabama Shakes last year, Mercury Prize-winning arty British rock band Alt-J was basically guaranteed to be one of the breakout acts at South by Southwest before it even began. The band's March 29 gig was selling so well, it moved on up from Turner Hall, to the Pabst, and eventually the Riverside. But when the SXSW dust settles, it probably wouldn't be fair to say the breaking point (if one occurred) happened at Stubb's early Thursday morning. The dynamic one-two of Nick Cave and Yeah Yeah Yeahs collectively cast a massive shadow it would be difficult for most bands to step out from under. And it didn't help too to have a new, frequently downtempo group come after sets filled with rambunctious music. So the crowd had noticeably thinned out, but those that stayed were attentive during the generally mellow set, thanks to Joe Newman's etheral vocals and angular guitar, and especially from Thom Green's textured drumming. From clicks of the sticks to taps on a bongo and cowbell to fidgety, percussive thumps, Green's drum work popped.

We've got oh so much SXSW coverage at jsonline.com/sxsw - including an exclusive performance from New Politics, recap of Dave Grohl's keynote speech, a playist of songs I've heard here and more. And there's still a lot to come. Check back for a review of Dave Grohl's supergroup the Sound City Players, a look at Wisconsin acts at SXSW and much more. And you can follow the action live on Twitter and Facebook.

About Piet Levy

Piet Levy covers music for the Milwaukee Journal Sentinel and TapMilwaukee.com.